Reviews
“Elías Benito Arranz offered a sovereign portrayal of the Count. His training at La Monnaie’s Opera Studio clearly suits him well. His baritone is flexible and distinctively precise. He has the composure to let his face speak from stillness, and the confidence to time big gestures at exactly the right moment”
Opernnetz
Le nozze di Figaro, Sommer Oper Bamberg, Alemania.
“Elias Benito, particularly brilliant in the trumpet’s aria”.
Messiah, Diario de Mallorca, Diciembre 2018.
“Elias Benito-Arranz stood out with very expressive singing and great personality in all his
interventions”
interventions”
Codalario,
Requiem de Mozart, Palau de la Música Catalana, Barcelona, 2015.
“Among the singers, the Spanish baritone Elias Benito-Arranz stood out and introduced
himself with a sonorous bass as Dandini in Rossini´s “La Cenerentola” and Malatesta from
“Don Pasquale”
himself with a sonorous bass as Dandini in Rossini´s “La Cenerentola” and Malatesta from
“Don Pasquale”
Allgemeine Zeitung Mainz
Gala lírica en Villa Musica, Alemania.
“Glorious singing from Elisabeth Meyer, Elias Benito Arranz and Caroline Nkwe, whom we are sure to see again on the concert platforms across the world”
Der Neue Merker
Recital in HfM Lübeck, Schleswig Holstein Festival, Germany.
“Elias Benito-Arranz sang with an assured technique and a very well projected voice”
El Binari Requiem de Bruckner/Utrechter Te Deum de Haendel, Palau de la Música Catalana, Barcelona.
“They showed a commitment near-impossible (···) Natalia Brzeziska (mezzo), Richard Rowe
(tenor) and Elias Benito (bass) stood out.”
(tenor) and Elias Benito (bass) stood out.”
Bucks Free Press, sobre Bach B minor Mass, Amersham Festival, United Kingdom.
“One of the surprises of the night was the beauty of Elías Benito´s instrument, a baritone
who made even the singing of Onegin´s aria sound easy”
who made even the singing of Onegin´s aria sound easy”
El diario vasco
Gala lírica, Museo Balenciaga Quincena Musical, San Sebastián.